For the past six years, screen printing has been at the very core of Hagai’s creative practice. Always pushing the boundaries of what the medium can do, he continues to experiment with new formats that stretch beyond paper and into something more immersive. His most recent solo exhibition, The Days of Sadat (Be’eri Gallery, Tel Aviv, 2025, curated by Sofie Berzon MacKie with assistant curator Tal Simon), brought this spirit of experimentation to life in striking ways.
At the heart of the show was a breathtaking three-dimensional screen-printed diorama: a theatrical, hand-pulled scene stretching two meters wide and half a meter deep. This intricate installation paid homage to one of the most pivotal moments in modern peacemaking—the historic visit of Egyptian President Anwar Sadat to Israel in the late 1970s.
Art in a Time of Turmoil
Over the past two years, the devastating conflict across Israel-Palestine has left a heavy mark on everyday life. Amid the violence and uncertainty, Hagai has sought out hope, focusing his practice on collaboration and peace-building. This commitment gained further significance when he was awarded the Be’eri Gallery Prize last summer, which led directly to the creation of this exhibition.
The Be’eri Gallery itself carries its own powerful story. Active for more than 40 years, the gallery was tragically burned to the ground by Hamas terrorists on October 7th, 2023. Now operating from a temporary space in Tel Aviv, the gallery continues its mission of supporting artists while the community looks toward the long road of healing and rebuilding.
Revisiting a Historic Gesture of Peace
From the outset, the exhibition’s curators and Hagai chose to center the project on a truly remarkable act of leadership: President Anwar Sadat’s groundbreaking visit to Jerusalem. In 1977, Sadat addressed Israel’s parliament with a radical proposal for peace. His brave decision not only transformed the relationship between Israel and Egypt but also reshaped the Middle East. Within a year, the two nations signed a peace accord that ended decades of conflict and continues to impact regional stability to this day.
The exhibition’s title, The Days of Sadat, draws inspiration from a 2001 Egyptian biographical film about the Egyptian president. The body of work included hand-pulled, limited edition screen prints on paper, alongside the standout diorama piece, President Sadat Visits Haifa 1979. This ambitious work was informed by deep visual research and the careful reassembly of dozens of historical photographs from the 1970s, capturing the moment of Sadat’s arrival in Haifa—a multicultural port city symbolic of dialogue and coexistence.
Art as an Alternative Narrative
For Hagai, the story of Sadat is more than a history lesson—it’s a reminder that peace, though fragile, is possible. In his own words, he sees printmaking and art as essential tools for building “an alternative ethos and narrative to the one of violence and destruction.” By reviving this moment of courageous diplomacy, Hagai’s prints serve as both homage and urgent call, offering a vision of reconciliation in times of despair.
The installation was documented beautifully by photographer Daniel Hanoch, preserving a moment where history, memory, and print came together in one extraordinary exhibition.
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